If you wanted to understand where Ghanaian music stands in 2025, you’d need to hold two truths simultaneously: we’ve never been more visible on the world stage, and we’ve never been more vulnerable at home.
2025 forced us to have uncomfortable conversations we had been avoiding for too long. Who really owns the music? What happens when artists sell their legacies for immediate cash? How do we protect creativity while pursuing global recognition? These were not abstract debates but real-time events we experienced across platforms and varying channels.
Despite the chaos and scandals that made the space squirm, we saw growth and triumphs to be proud of. These are the moments that reminded us why Ghanaian music matters.
Shatta Wale vrs BOG Beatz
The issue of intellectual property rights has always been delicate for Ghanaian creatives, and August 2025 brought the industry face-to-face with the topic. Ghanaian producer, MOG Beatz publicly accused Shatta Wale of catalogue fraud; hence, he pulled down two of Shatta’s most iconic albums, “The REIGN” and “Wondaboy” from Apple Music. The accusation went beyond social media banter as MOG accused Shatta of selling his catalogue to an international entity (Waka Music) without compensating or crediting the original producers.
This dispute reignited a fierce industry-wide conversation about split sheets and the lack of formal contracts in Ghanaian studios. Legal experts noted that while verbal agreements are common, Ghana’s Copyright Act requires transfers to be in writing, leaving a significant legal loophole for producers to reclaim their work.
By December 11, MOG Beatz announced the resolution had been reached, reportedly involving a settlement of approximately $20,000. Shatta Wale’s response was characteristically defiant, taunting the producer on social media and claiming he would have provided far more had MOG shown patience. But the damage—or perhaps the awakening—was done. The conflict once again exposed Ghana’s weak royalty collection systems and lack of transparency, forcing creatives to confront uncomfortable truths about documentation and fair compensation.
Shatta Wale vrs EOCO
While still reeling from the MOG Beatz dispute, Shatta Wale found himself in another high-stakes confrontation, this time with the Economic and Organised Crime Office. EOCO seized Shatta Wale’s yellow 2019 Lamborghini Urus following a request from the FBI and the US Department of Justice, claiming the vehicle was linked to financial crimes committed by Nana Kwabena Amuah, a Ghanaian serving 86 months in a US prison for romance scams and business email fraud.
On August 20, 2025, he was detained by EOCO and later released on bail of GH¢5 million with two sureties. His response was true to style, defiance and spectacle. Just days after his release, he appeared publicly in an all-purple outfit with a newly purchased purple Lamborghini Urus.
The image of the “African Dancehall King” being interrogated and granted bail was perhaps the most sobering image of the year for the Shatta Movement.
MOLIY’s Global Momentum Continues
While controversy swirled around established stars, MOLIY made history as the first Ghanaian artist to perform live on the BET Awards stage on June 9, 2025, at the Peacock Theatre in Los Angeles. Joined by collaborator Silent Addy, she delivered an electrifying rendition of “Shake It to the Max (FLY),” performing alongside Jamaican dancehall queen Spice during the pre-show.
MOLIY lit the stage with poise and power while fans waved both Ghanaian and Jamaican flags, celebrating the Afro-fusion sound she has become known for. The performance expanded the visibility of Ghanaian women in global pop spaces.
Following her BET performance, MOLIY’s year was also characterized by an aggressive international touring schedule. She appeared at major venues and festivals across Europe and North America, including performances in Paris and Brooklyn, and a historic appearance at Reggae Fest alongside Vybz Kartel, Shenseea, and Skillibeng.
The global attention translated into tangible success with Billboard Africa honours, multiple chart placements, and international certifications, reinforcing the legitimacy of her rise.
Amaarae’s Coachella History
In April, Amaarae achieved what no solo Ghanaian artist had done before: a billed solo set on the Coachella main lineup. Her set at the Gobi Stage was a curated exhibition of Ghanaian culture. Between her own hits, she spun tracks from Joey B, Eazzy, La Même Gang and the Asakaa Boys, effectively turning the California desert into a suburb of Accra for 45 minutes.
Industry analysts have characterized Amaarae’s moment as a turning point for African alté music. Her distinctive blend of pop, R&B, Afrobeats, and experimental sounds challenges traditional norms in African music, particularly regarding gender identity and style. Her success represents a powerful validation for non-mainstream African artists aiming to break into global markets.
Amaarae also announced her album “Black Star” before its summer release. She debuted a techno-infused track from the album, which sampled the nostalgic classic “Deeba”, positioning herself as a cultural ambassador redefining what it means to be an African artist on the world stage.
The Business of Music and Catalogue Acquisitions
The trend of artists selling their life’s work for “exit-level” payouts reached a fever pitch in 2025. Globally, we saw Taylor Swift finally reclaiming her first six albums’ masters from Shamrock Capital, while Sony Music Publishing made aggressive moves into the Finnish and Latin markets.
Back home, the MOG Beatz-Shatta Wale dispute opened a Pandora’s box that the industry could no longer ignore: catalogue acquisitions. Throughout 2025, it emerged that numerous Ghanaian artists, including some of the biggest names, had quietly sold their music catalogues to foreign companies.
Artists including Shatta Wale, Sarkodie, the late Ebony Reigns, Amerado, and Captain Planet have sold their music catalogues to foreign companies like Waka Music Limited. Shatta Wale revealed he earned $3 million from selling 300 of his over 11,000 songs, investing the proceeds in property acquisitions and his ride-hailing service, Shaxi.
But why were artists choosing to sell? Rights manager Nana Gee pointed to Ghana’s weak royalty collection systems through GHAMRO, inconsistent income, and lack of transparency as major factors pushing artists toward catalogue sales. For many artists, a one-time substantial payment offered more financial security than the uncertain trickle of streaming revenue and compromised royalty collection.
The debate divided the industry. Supporters argued catalogue sales provide immediate cash flow for investment in careers and life. Critics warned that selling strips musicians of perpetual income, creative control, and musical legacy, essentially trading tomorrow’s earnings for today’s needs. Industry observers like Nana Kojo Mula, emphasized that catalogue sales are not inherently negative but require proper documentation, fair compensation for all rights-holders, and transparency.
Sarkodie’s Rapperholic Homecoming in Kumasi
For over a decade, Sarkodie’s Rapperholic was an Accra staple. In September 2025, King Sark finally took the “Homecoming” literal, moving the show to the Baba Yara Sports Stadium in Kumasi. The weeks leading up to Rapperholic Homecoming saw Kumasi transform into a festival city. Posters blanketed the streets, rehearsal clips circulated across social media, and anticipation reached fever pitch.
Sarkodie himself embraced the cultural significance of the moment, paying a courtesy call to the Asantehene, Otumfuo Osei Tutu II, at the Manhyia Palace to receive blessings for the concert. When concert night arrived, heavy rains threatened to derail the event. The downpour soaked the pitch, equipment, and attendees alike. Yet rather than dampening spirits, the rain became part of the story. Despite a massive downpour that threatened to wash out the equipment, the SarkNation showed up in the thousands. The night was a marathon of hits featuring Obrafour, Efya, the Asaaka Boys and Medikal.
The question on everyone’s lips afterward was whether Rapperholic Homecoming was the biggest concert Kumasi had ever seen. While Shatta Wale’s 2017 Adonko-sponsored show and various gospel concerts have drawn massive crowds, Rapperholic Homecoming stood apart as the first artist-owned annual brand to take over the Baba Yara Sports Stadium under such challenging conditions.
